格式工厂6

Guest: George Legrady

Date: 2015-06-20  15:00 ~ 2015-06-20  16:30

Address: Chronus Art Center (Bldg 18, No.50 Moganshan Rd., Shanghai)

Language: English (with Chinese translation)

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About the Lecture

The lecture will review a six public museums installations that collect cultural data from the audience, process and analyze the data through semantically driven algorithms, and then visualize the results on-site. The projects to be discussed include 1) "Imaging Macondo" (2015), realized for the International Bogota, Colombia book Fair, celebrating “100 Years of Solitude” by the Nobel laureate Gabriel Garcia Marquez. The public contributes photographs from their cellphones describing scenes from Marquez’ novel. These are coded by the public and submitted to a server which organizes the images thematically and features them on a large projected screen. 2) "Swarm Vision"(2011-2014), three surveillance cameras are trained to autonomously view visual scenes of interests in the museum space where they are installed. A virtual representation of the space is projected on a large screen, placing the captured images within the VR space. 3)"Pockets Full of Memories" (2001-2007) commissioned by the Centre Pompidou Museum of Modern Art, Paris which consisted of a direct “crowdsourced” artwork, where the audience contributes information by scanning and describing an object in their possession. The exhibition travelled to multiple venues in seven countries (Cornerhouse Gallery, Manchester, UK; Ars Electronica, Linz, Austria; Museum of Communication, Frankfurt, Germany; V2 Dutch Electronic Arts Festival, Rotterdam, Netherlands; Aura, Media Festival, Budapest, Hungary; Kiasma Museum of Contemporary Art, Helsinki, Finland, and Museum of Contemporary Art, Taipei) 4) "Making Visible the Invisible", is a site-specific commission for the Rem Koolhaas designed Seattle Public Library. It is an ongoing data visualization work begun in September 2005 (to continue until 2019), an “indirect crowdsourced” artwork that reflects back in near real-time, actions of patrons check-outs of books, dvds, cds that are statistically analyzed and dynamically visualized. To date the artwork has collected over 75 million datasets mapping patrons’ usage of the library’s holdings currently over a decade. 5) "We Are Stardust" (2008) is a commission by the NASA Spitzer Science Center. The installation maps the observations of the sun-orbiting Spitzer heat-sensing satellite telescope and 6) "Cell Tango "(2006-2009), where the public contributes cellphone images that search the Flickr photo repository for other images based on tags and presents the two together on a large museum wall screen.

About the Speaker

George Legrady is Chair of the Media Arts & Technology PhD program at the University of California, Santa Barbara, director of the Experimental Visualization Lab, and professor of digital media in the College of Engineering and the College of Humanities and Fine Arts. He is an internationally published scholar and exhibiting media artist, a pioneer in the field of interactive digital media arts. His contribution to the field since the early 1990’s has been in creating digital media interactive installations based on a set of conceptual positions for intersecting cultural content with data processing. His current research engages with data visualization, robotic computational integrated photography, and digital visual ethnography. His computational based installations have been exhibited internationally in multiple venues from fine arts museums and galleries, alternative spaces, academic conferences, and public commissions. He has received awards from Creative Capital Foundation; the Daniel Langlois Foundation for the Arts, Science and Technology; the Canada Council; the National Endowment for the Arts, and the National Science Foundation.

格式工厂5

Guest: Wolfgang Staehle

Date: 2015-05-10  14:00 ~ 2015-05-10  15:30

Address: Chronus Art Center (Bldg 18, No.50 Moganshan Rd., Shanghai)

Language: English (with Chinese translation)

Relational Art and the Attention Economy

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About the Lecture

The lecture will focus on the development of Staehle’s art practice, which is informed by the thinking of relational art andthe attention economy. It covers from "the thing", an early artist-runsocial network, to his works developed in the 90s.

Deeply influenced by a phenomenological approach ofbeing in the world, the thinking that informs Staehle’s works is in the directopposition to the dominant western thinking which is grounded in asubject-object dualism and generally sees the subject as a separate entity fromits surrounding nature. In his mind, there is a positive correlation betweenthe attention you give to an object and its self-reveals, and it does so onlyin relation with the subject.

About the Speaker

Wolfgang Staehle was born in Stuttgart, Germany in 1950. He attended the Freie Kunstschule, in Stuttgart, and in 1976 he moved to New York to attend the School of Visual Arts, New York (BFA) where he studied with Joseph Kosuth (Conceptual Art), Marshall Blonsky (Semiotics), Robert Mangold (Painting), Jackie Winsor (Sculpture), Richard Van Buren (Sculpture), Storm De Hirsch (Experimental Film), Todd Watts (Photography), Ed Bowes (Video), Anina Nosei (Art History), and Jeanne Siegel (Art History).

After a successful career in various New York and European galleries in the 1980s, Staehle decided to work collectively, and in1991 he founded The Thing, an innovative online forum for artists and culturalworkers. The Thing began as a Bulletin Board System (BBS), a form of online communitydialogue used before the advent of the World Wide Web. By the late 90s, TheThing grew into a diverse online community made up of dozens of members' Websites, mailing lists, a successful Web hosting service, a community studio in Chelsea, and the first Web site devoted to Net Art, bbs.thing.net.

In 1996, Staehle began to produce an ongoing seriesof live online video streams. The first of these works wasEmpire 24/7, acontinuous recording of the top one-third of the Empire State Building that isbroadcast live over the Internet. Staehle has followed Empire 24/7 with onlinestreams of other buildings, landscapes and cityscapes such as Berlin'sFernsehturm, the Comburg Monastery in Germany, lower Manhattan before and after 9/11, and a Yanomami village in the Brazilian Amazon. He continues to expandthis series while serving as the Executive Director of The Thing.

Wolfgang Staehle is represented by Postmasters Gallery, New York.

格式工厂3

Guest: Sabine Himmelsbach

Date: 2015-04-04  14:00 ~ 2015-04-04  15:30

Address: Chronus Art Center (Bldg 18, No.50 Moganshan Rd., Shanghai)

Language: English(with Chinese translation)

About the Talk

The presentation will focus on works from the field of video and media arts that question the boundaries of the screen and that are experimenting with the visual language of film and video. Works shown and discussed are devoted to the potentials offered by the use of the media to restructure, expand or reorganize visual material.Specific strategies explored by artists include new modes of narration, immersive and technologically innovative environments, and the use of algorithms for a generative development of visual material. Examples will come from exhibitions from my curatorial practice at the ZKM | Center for Art and Media Technology, the Edith Russ House for Media Arts and the HeK (House of electronic Arts Basel).
(www.zkm.de, www.edith-russ-haus.de, hek.ch)

About the Speaker
Since March 2012, Sabine Himmelsbach is the new director of HeK (House of Electronic Arts Basel). After studying art history in Munich she worked for galleries in Munich and Vienna from 1993–1996 and later became project manager for exhibitions and conferences for the Steirischer Herbst Festival in Graz, Austria. In 1999 she became exhibition director at the ZKM | Center for Art and Media in Karlsruhe. From 2005–2011 she was the artistic director of the Edith-Russ-House for Media Art in Oldenburg, Germany. Her exhibition projects include ‘Fast Forward’ (2003); ‘Coolhunters’ (2004); ‘Playback_Simulated Realities’ (2006); ‘Ecomedia: Ecological Strategies in Today’s Art’ (2007); ‘Landscape 2.0’ (2009); ‘MyWar. Participation in an Age of Conflict’ (2010) and ‘Culture(s) of Copy’ (2011). 2011 she curated ‘gateways. Art and Networked Culture’ for the Kumu Art Museum in Tallinn as part of the European Capital of Culture Tallinn 2011 program. Her exhibitions at HeK in Basel include ‘Sensing Place. Mediatising the Urban Landscape’ (2012), ‘Semiconductor: Let There be Light’ (2013),‘Perspectives on Imaginary Futures' and ?Ryoji Ikeda“ (2014). As a writer and lecturer she is dedicated to topics related to media art and digital culture.

VEDIO:
part 1:
part 2: